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2021
The question “what is jazz?” has been asked regularly since the origins of this music in the early 20th century. Over this time, jazz has undergone many changes, but certain characteristics—such as a particular kind of syncopated rhythm, improvisation, and tonal harmony—have remained more or less constant.
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The question “what is jazz?” has been asked regularly since the origins of this music in the early 20th century. Over this time, jazz has undergone many changes, but certain characteristics—such as a particular kind of syncopated rhythm, improvisation, and tonal harmony—have remained more or less constant.
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2020
This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive
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This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive
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Ethnomusicology Forum, 2017
Jazz Worlds/World Jazz is an illuminating volume that investigates the sonic diaspora of jazz and its fusion with indigenous music in diverse cultures worldwide.
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Jazz Worlds/World Jazz is an illuminating volume that investigates the sonic diaspora of jazz and its fusion with indigenous music in diverse cultures worldwide.
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, 2018 This chapter both draws on and seeks to extend recent interdisciplinary scholarship in music and disability studies by looking at the case of jazz. It is in two parts, focusing first on discussing aspects of jazz as a music of disability, from its earliest days on.
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During the transition from omnibus to format radio, two actors rise to prominence, the record and the DJ. It was only in the 1950s that the record and radio industries begin a real and symbiotic partnership. A corps of DJs that specialized in jazz emerged hosting both record shows and live remote jazz performances.
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2000
Abstract In the beginning, the word jazz was not a noun naming a musical genre but probably an adjective describing a certain quality of movement and behavior: spirited, improvised, often sensual, and with a quirky rhythm. By the end of the second decade of this century the term was applied to both a kind of music and a kind of dancing ...
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Abstract In the beginning, the word jazz was not a noun naming a musical genre but probably an adjective describing a certain quality of movement and behavior: spirited, improvised, often sensual, and with a quirky rhythm. By the end of the second decade of this century the term was applied to both a kind of music and a kind of dancing ...
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2003
Not everyone has subscribed to the idea that all people can learn to play jazz. Since the time of the earliest accounts of the music, many writers and audiences have perceived jazz as a ‘natural expression’ of the performers rather than as a learned and practised behaviour.
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Not everyone has subscribed to the idea that all people can learn to play jazz. Since the time of the earliest accounts of the music, many writers and audiences have perceived jazz as a ‘natural expression’ of the performers rather than as a learned and practised behaviour.
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